If you look at Marriage of Figaro or Butterfly or Traviata, all of those elements are in there. I also have to have a very specific location in mind. The physical environment of where the opera takes place is very key - the "sound world."

I look for stories that tell transformative, emotional journeys, have big emotional worlds, feel very relevant and true to the times we're living in - even though they might be of a different time - have a sense of real intimacy with larger forces at work, where there's some kind of social injustice and inequity happening that needs to be conquered or addressed. I find historically that's the formula for a lot of successful operas.

We've always told stories through music and rhythm and movement, and what we know as western opera has only been around for a few hundred years and in different forms before that. There is great passion regardless of the fact that it's expensive and people who invest in it are giving money because they believe in it. They're not getting anything back other than satisfaction and enjoyment of hopefully many people having a human, deep, reflective and meditative experience that at its core is incredibly emotional.

There's no rational reason why opera should exist. It's expensive, time consuming. Yet in some shape or other it has always existed.

If you look at Marriage of Figaro or Butterfly or Traviata, all of those elements are in there. I also have to have a very specific location in mind. The physical environment of where the opera takes place is very key - the "sound world."

I have a lot of projects I get asked for, but the opera house really is my house - my home. It's where I feel comfortable and confident and I get to explore these big human stories and dramas and collaborate with extraordinary people, great talented artists and administrators and other people who are passionate about it and support it. It's like working with a great big family - the family you love and enjoy being with all the time.